Skip to main content

Full text of "Pennsylvania Museum Bulletin. Number 47, July 1914"

See other formats



OF Tbe ^ 






JULY, 1914 



Bnteied, August 27. 1903, at PhUadelphia Pa., as Second-Claas Matter, undff Act of Congress of Jal]r 16, 1894. 



Boar^ of ^rueteee 

Thb Governor of the State, Ex-Of. The 

Mrs. Rudolph Blankenburg Thomas Skelton Harrison 

Charles Bond John Story Jenks 

James Butterworth John H. McFadden 

John G. Carruth John D. McIlhenny 

Harrington Fitzgerald Mrs. Arthur V. Meigs 

John Gribbel John T. Morris 

Charles H. Harding John W. Pepper 

Mayor of the City, Ex-Of. 
Theodore C. Search 
Edgar V. Seeler 
Mrs. C. Shillard Smith 
Mrs. Joseph P. Sinnott 
Edward T. Stotesbury 
James F. Sullivan 
William Wood 







LESLIE W. MILLER, Principal oj the School 




for 3ul^ Nineteen IHunt^rcb anb fourteen 


A Louis XVI Revolving Dial Clock, by Mrs. Cornelius Stevenson . . 35 

Technical Exhibit of Leaded Glass, by F. M. Kretschman .... 36 

Recent Accessions of Ceramic Collections 38 

Cuneiform Tablets, by Mrs. Cornelius Stevenson 42 

Notes 44 

Accessions 47 

General Information 48 




JULY, 1914 


Number 47 


In March last the Pcnnsyh-ania Museum, 
by bequest of the late Miss Anna Phillips 
Stevenson, came into possession of a very 
handsome French clock of the Louis XVI 
period, which the testatrix had obtained some 
years ago at a sale. 

The clock is of the revolving dial type 
which came into existence in the sixteenth 
century, when Nicolas GroUier de Serviere, 
an horologist of Lyons, invented the mecha- 
nism by which a movement within a globe 
or urn causes a central band on which the 
hours are marked to revolve, the indicator of 
the time, of whatever form it might be accord- 
ing to fancy, was stationary, as well as the 
upper and lower portions of the globe. 

A taste for these revolving dial types of 
timepieces revived in the eighteenth century, 
and they were then treated with much artis- 
tic feeling. The South Kensington Museum 
possesses a fine example of about 1780 in 
which a globe is supported by a group of 
boys; and the Wallace collection also includes 
one or more of such globe clocks with hour and 
minute revohdng bands. A similar clock 
illustrated by Britten in his work on "Old 
Clocks and Their Makers,"' and said to 
have been the property of Marie Antoinette, 
is in the form of a vase, the urn being of 
porcelain, and the movement being placed 
in a handsomely carved pedestal of marble. 

1 p. 435. 

Revolving Dial Clock 
French, Louis XVI Period 


A serpent coiled around the foot of the vase points the time with its 

The same authority reproduces- another specimen very similar to that 
now in the Pennsj^lvania Museum. It is a larger clock than the one above 
described and is in the shape of an urn mounted on an elaborately decorated 
square plinth. Here also a coiled serpent points the time, otherwise it is in 
form, at least, though not in detail, a replica of the Museum's specimen, although 
the handles are in the form of foliage instead of entwined serpents. A some- 
what similar clock, signed by Le Loutre, "horloger du Roy, Paris," was sold 
in 1882 for £903 at the Hamilton sale in London. 

In the Museum's specimen, the pedestal and body of urn and lid are of 
red porphyry, while the boy who marks the time, the ent^^aned serpent handles, 
the plaques and mounts are of finely wrought ormolu. The height of both urn 
and pedestal from base to surmounting pomegranate ornament is two feet 
nine and a half inches; the pedestal is ten inches square. 

It is a superb specimen; and the clockmaker who examined the works 
states that while undoubtedly old, they are in well-preserved order. 

S. Y. S. 


The interesting process of making leaded glass, as illustrated in an exhibit 
covering an area of fifteen square feet, may be studied by xasitors to Memorial 
Hall. This was prepared and arranged by Mr. Nicola D'Ascenzo, of The 
D'Ascenzo Studios, Philadelphia, a former student of the School of Industrial 
Art. Here, on a table top, the entire process is shown, step by step, and one 
is spared a journey through the two thousand square feet of space which Mr. 
D'Ascenzo's studios and shops occupy. One misses, of course, the cordial 
welcome of Mr. D'Ascenzo, the making of the full size cartoons by his assistant 
designers, the snip of the scissors in the pattern room, the screech of the wheel 
as the glass is cut, the painting of the glass on the easels, the burning of the 
glass in the kilns and the hiss of the soldering iron. However, the actual pro- 
cess, removed from its active surroundings, is shown on the table, beneath 
the Lewis collection of Swiss stained glass in the Southeast Pa\alion. 

First Step. The full size drawing, in color. In the solicitation of orders 
for leaded glass, a drawing, made to scale and in water colors, is submitted 
to the prospective purchaser. Such drawing is intended to harmonize ^^^th 
the character of the architecture and the tones of the interior of the building. 
After the actual measurements and templets of the opening are obtained, they 
are laid out on paper and placed on the walls of the large studio. It is inter- 
esting to watch the design drawn into this full size lay-out under the hands 

= Britten, loc. cil., p. 435, Fig. 565. 



of the artist and his assistants. The cartoon is made in charcoal with the 
lead lines indicated. 

Second Step. The design traced. The full size drawing is now removed 
from the large studio and is taken to the cutting rooms. Here tracings of it 
are made, again on paper. It is needless to explain that the lead lines break 
the glass into various sized pieces. On the tracings each piece of glass receives 
a number. 

Third Step. The patterns. One tracing is now cut, following the lead 
lines, giving a numbered paper pattern for each piece of glass. A special pair 
of scissors must be used in cutting the patterns. These scissors cut away from 
the paper pattern the space which will be occupied by the heart of the lead 
when the glass is glazed. 

Fourth Step. The glass cut. It will be noted that there are two diamond 

Exhibit of Stained Glass 
Showing the various Processes of Manufacture 

point wheels in the exhibit used for this purpose. The exhibit is of antique 
glass and very beautiful effects can be obtained in this glass through its rich- 
ness of color and luminosity and it is in his knowledge of the grouping of colors 
that the artist achieves his wonderful results. 

Fifth Step. Some of the color etched from the glass. A special kind of 
antique glass, known as flash, must be used when etching. It is pure white, 
with color applied to but one side. Hydrofluoric acid is employed to eat away 
the color in the pattern desired, the color portions to be retained being pro- 
tected by asphaltum and tin foil. The acid has taken the place of the wheel 
and pumice used by the artisans of the fourteenth century to obtain the same 
results but with a greater amount of labor. Etching is done to get light and 
shade, to diminish tone, etc. 

Sixth, Seventh and Eighth Steps. The glass painted and fired. In antique 
work the painting is done with but one tone of pigment. All shadings are 



obtained with the brush only on different colors of glass and, in order to obtain 
the necessary effect, the glass is painted and fired as often as three, four and 
five times. 

Ninth Step. The painted pieces in process of glazing. Below are dis- 
played numerous pieces of lead in various widths. It will be seen the lead 
has a center rib, known as the heart, with a flange on each side of the heart. 
The small fiat tool spreads the flanges to take the thickness of the glass. The 
lead is pliable and can be bent and twisted to the contour of the various shaped 
pieces. The square edged knife with the heavy handle is used to cut the lead, 
the handle being used as a hammer. In glazing, one of the tracings which was 
made from the full size cartoon is laid on the glazfer's table. As the pieces on 
the tracing are numbered, the glazier fits the pieces of glass and lead together 
over the tracing, thus losing no time in assembling. The various sections of 
a leaded glass window are kept together on boards, according to pattern, 
throughout the entire process. After the pieces of glass and lead are assembled, 
the wire solder, which comes on spools, is applied with a heated iron at each 
intersection or joint. A soldering iron and wire solder, together with a pincers 
for cutting the solder, are on display. 

Tenth Step. The finished product. After soldering, the light is taken 
to the cementing room. On both sides, between the flanges of the lead and 
the glass, cement is applied and allowed to harden. This renders the light 
water-proof. Then, about every eighteen inches apart, steel bars, one-half 
inch wide, are taken across the width of the light on the inside and soldered 
to the lead. This prevents the glass from bulging and counteracts wind 

In the production of leaded glass an enormous amount of labor and time 
are required. Browning expresses our thought in the words — "Works done 
least rapidly. Art most cherishes." 

F. M. Kretschjl\x. 


The Aluseum has received, since the appearance of the April Bulletin, 
three collections of pottery and porcelain, two of which have been placed in 
the Museum on loan, and one has been received as a bequest. 

The late Dr. S. Weir Mitchell was for many years deeply interested in 
forming a collection of Delft ware. This collection has been kept intact and 
has been recently placed on loan here by his sons. The cream of the collec- 
tion has been arranged in a wall case in the northwest comer of the East 
Gallery, in the section devoted to tin enameled pottery. Many rare and 
unusual pieces will be found in the collection, which consists almost entirely 
of examples made in Holland during the eighteenth century. Among the 
more interesting pieces may be mentioned a choice example of black Delft 
with its brilliant glaze decorated in colors in Chinese style, such as was pro- 




Bow Porcelain Figure Group 
Alexander Scott Collection 

Bristol Delft Sack Pot 
Dated 1641— Alexander Scott Collection 

Chelsea Porcelain Figures 
Alexander Scott Collection 



Mennecy Pate Texdre Vases and Chantilly Cup 
Alexander Scott Collection 

duced by Lambertus van Eenhorn, Low'ys Fictoor, Augustein Reygensbergh, 
and perhaps others, who were celebrated for their fine work toward the end 
of the seventeenth century. The work of these Dutch potters was equally 
meritorious and it is often difficult to distinguish one from the other, even 
when marked, since their monograms, hastily penciled, often bore close resem- 
blance. Another ornate style produced by these same potters was that in 
which the decoration was in polychrome — red, blue, green, black, and gold — 

painted on an opaque white ground. A 
tea caddy of this style is also found in 
the collection ; on one side are the heads 
of Princess Anna and Prince William, 
above which is an enormous crown in 
gold. There are also large jars with 
vertically fluted sides, painted in blue; 
vases and jars belonging to mantel garni- 
tures, plates, plaques, bottles, bonbon 
dishes and other objects, some decorated 
in blue and others in polychrome, includ- 
ing a full-sized violin elaborately painted 
in colors. 

The collection of pottery and porce- 
lain, principally English, recently placed 
on loan by JNIr. Alexander Scott, was 
formed by his father in England many 
years ago with the valuable aid of the 
late Sir A. Wollaston Franks, England's 
Capo di Monte FiguKe 'Growp greatest ceramic authority. Represented 

Alexander Scott Collection ■ in this collection are many of the most 



celebrated early factories of Great Britain, such as Bow, Chelsea, Worcester; 
the old French factories of Mennecy and Chantilly; the celebrated factories 
of Sevres, Capo di Monte, etc. The oldest piece in the collection is a 
Lambeth delft Sack bottle, bearing the date 1641, which is one of the earliest 
dates known to collectors. A Neptune figure group of Bow porcelain, a 
candlestick and figure group of Chelsea porcelain, and a figure group of white 
hard paste from the Capo di Monte factory are also among the rarities. 

The bequest of pottery and porcelain by the late Harry J. Abbott includes 
some rare pieces which will fill in certain gaps in the general ceramic exhibit. 

St.\ffordshire Delft Dish 
Harry J. Abbott Collection 

One of these is a Staffordshire delft plaque of the eighteenth century painted 
in the characteristic coloring of the period, a Cupid in purple, with trees sponged 
at the sides in green. The back of the dish is coated with a lead glaze, which 
is a peculiarity of this variety of tin enameled faience. 

The Abbott collection also contains examples of old Worcester soft paste, 
covering the period between 1751 and 1800; some good specimens of old Dutch 
delft; some hard paste French porcelain of the early nineteenth century Paris 
factories; an interesting old Saxon mug dated 1681, an imitation of, and con- 
temporary with, the Creussen enameled stoneware; and a series of painted 
vases from some of the old Staffordshire potteries. 

These collections are now being installed. 




Through the courtesy of Dr. Albert T. Clay, of Yale University, the 
Pennsylvania Museum has been given the opportunity to purchase a small 
but representative series of seventeen cuneiform tablets illustrative of the 
palseography of Mesopotamia from the early Ur d\'nasty (King Dungi, B. C. 
2382-2324) to the Neo-Babylonian dynasty which is exemplified by texts of 
the Biblical Nebuchadnezzar (604-561) and Nabonidus, father of Belshazzar 
(B. C. 555-539). 

While most of the texts are from Ur (Mugheir), Uruk (Warka Erech); 
Larsa (Senkereh) ; with one from Derhem and one from Jokha, they contain 
royal names of a number of kings, and some represent distinct historical epochs. 
Thus, beginning with Dungi of Ur, and Ibe-Sin, from whose reign we have 
a list of animals (B. C. 2382-2324); Uruk, is represented b}' King Sin-Gashid 
(c. B. C. 2100), "the mighty hero. King of Erech; King of Ammanum; Patron 
of the temple of Ana," etc.; and the great Semitic conqueror and lawgiver 
Hammurabi, B. C. 2000, by a case tablet that bears his name. The King of 
Isin, Rim-Sin, who was overthrown by Hammurabi, is also represented by a 
tablet dated of the sixth year of his reign. 

There are two documents of the reign of Bur-Sin, son of King Dungi of 
Ur. One is a "bulla," a sort of warrant for pa^'ment of an elder dated in 
Bur-Sin's eighteenth year; the other is a temple record. A similar document, 
also of the Ur dynasty, is from the reign of Gimil-Sin (B. C. 2315-2304) ; while 
a record of payment for drink, oil, cereals, and other things for messengers 
from Southern Babj-lonia, of the same period, comes from Jokha. Two school 
exercises of those old days, are also interesting. 

In the small Neo-Babylonian series, all of which are derived from Uiiik, 
are a pay roll of the reign of Evil-Merodach (B. C. 561-559) ; a small and very 
clear tablet dated in the twenty-first year of King Nebuchadnezzar (583 B. C.) ; 
that is, four years before the destruction of Jerusalem; and lastly a tablet 
dating from the reign of Nabonidus, the father of Belshazzar, which refers to 
a loan of twelve mina at interest. 

It is the practise of the Professor of Semitic Archaeology in Yale Univer- 
sity, Dr. Clay, under whose care is the Semitic Museum, to receive from agents 
abroad in Bagdad, Paris, London, etc., shipments of Bab^donian tablets. 
After selecting from them such as fill up the gaps in the Yale series, or are 
of value for publication, the surplus, representing duplicates or other specimens 
that are not deemed important for already extensive collections, is then dis- 
posed of to other museums less developed in this branch ; or, as in the present 
case, who, without specializing in Babylonian Archeeology, are glad to possess 
an illustrative series of undoubted provenance for educational purposes and 
for use as object-lessons in lecturing to students on palaeography and the 
development of script in its various aspects. For this purpose the above 
series will prove invaluable. 

S. Y. S. 







! : -' .^' 




^^^^^|fiB^<^ 1 






H^^^^B flB 

ill k ^^^1 


Gothic Prie Dieu 

Sixteenth Century 

The Gift of Mrs. John Harrison 



By the death of Mr. Thomas Dolan, which occurred 
on June 12, 1914, the Pennsylvania Museum and School of 
Industrial Art loses the last surviving member of its original 
Board of Trustees, Mr. Dolan having served, without inter- 
ruption, from the organization of the Museum in 1876 until 
the present year. 

During the summer months many improvements will be 
made in the installation of collections. A new appraisement 
of the art objects owned by the Museum will also be prepared, 

based on present market values, which show an enormous increase over those 

of ten years ago. 

School Notes. — The cover design for this number, drawn by Helen Ayres, 
a student of the School, was awarded the Mrs. J. L. Ketterlinus prize for the 
best Museum Bulletin cover design submitted during the year. 

The commencement exercises were held at Horticultural Hall on the even- 
ing of Thursday, June 4, 1914. Edward Jam':S Cattell, Esq., delivered an 
address on "The Wedding of Art and Industry, the Foundation of Pennsyl- 
vania's Greatness." Fifty-six graduates received diplomas, thirty-nine in the 
Art Department, and seventeen in the Textile Department. Two hundred 
and twenty-four students received certificates of the School for partial courses. 

The exhibition of the work of the students for the past year was a notable 
one in many respects. A silver chalice, by Frederick Clayter; a wrought iron 
fire screen by Parke Edwards and illuminated books by Edith Heilman, re- 
ceived merited praise. The originality and artistic quality of the work dis- 
played by the Interior Decoration class in the Whiteheat Brick Company 
competitions were highly commended by the jury of architects. Glazed pottery 
and stoneware showed interesting and new possibilities. The decorative and 
professional quality of the Illustration class work was greatly admired. Num- 
erous reproductions of work done by students this year, and published in leading 
magazines, such as the Century, Delineator, St. Nicholas, etc., were also shown, 
demonstrating the efficiency of the course. 

On June 5 th the three foreign scholarship holders, Mr. John Ray Sinnock, 
Mr. Parke Emerson Edwards and Mr. Leon William Corson, sailed for Europe 
with the Director of the Art Department, Mr. Stratton. Several of the faculty 
and fomier students are also members of the class. Of the latter, several expect 
to remain in Europe for the year, continuing the research and study which they 
will commence under Mr. Stratton 's guidance. From Antwerp, the port of 
landing, a short journey will be made through Belgimn and Holland, Italy being 
reached by way of Cologne and Basle. Como will be the first stop, and from 
there they will go to Milano and Genoa, where the steamer to Naples will be 
taken. Pompeii, Capri, Sorrento Amalfi, Ravello and Paestum, with certain 



minor towns in this vicinity, Rome, Florence, Arezzo, Siena, Pisa, Prate, 
Ravenna, Rimini and Venice, with adjacent points of interest, such as Padua 
and Verona, will be visited. The return voyage starts from Trieste, early in 
September, and stops will be made at Patras (Greece), Palermo (Sicily) and at 
Algiers. The party will be due in New York about the middle of September. 
Mrs. John Harrison, of the Associate Committee of Women, kindly pur- 
chased and presented to the School the wrought iron screen made by Parke 
Emerson Edwards. As an example of craft work and design, this elaborate 
piece has been highly commended by several of our noted architects and 









'^iik'^j^ i' 










Wrought Iron Screen 
Designed and executed by Parke Emerson Edwards 

craftsmen. Its acquisition will do much to arouse interest, and maintain the 
standard in the wrought iron class. We hope this gift will form the nucleus 
of a collection of notable pieces of craft work done by students. From time 
to time objects are made that would be most useful to later students, as exam- 
ples of the School's standard, but these are usually removed from the sphere 
of their greatest influence, when the student and owner leaves the School. Sev- 
eral pupils have been generous and loyal enough to present such examples of 
their work, but most cannot afford, nor can we expect them, to do so. 

The demands for traveling exhibits of the School's work sent out by the 


Alumni Association have grown to such an extent that hereafter no exhibit will 
be lent for more than two months. Universities, colleges, art conventions, 
art clubs, high and grade schools, all have made calls this year for them. The 
exhibit placed in the window of the Crozer Building, Chestnut Street, resulted 
in several registrations. An exhibit at the "National Convention of Corpora- 
tion Schools," held in the Curtis Building, June 9th to 13th, was given the 
most desirable location among the thirty schools exhibiting, and attracted 
wide attention. 

The School's enrolkr.ent numbered a total of 1,271, an increase of nearly 
two hundred over last year's attendance. 

The summer class at the School seems to fill a long felt need judging by the 
num^ber of inquiries and registrations which have been received to date. 

A league to stimulate and maintain a professional attitude among the 
students of the School, was organized recently. In this short time its influence 
has alread}' been felt. Mr. C. A. Stinson, of Gatchell & Alanning, engravers, 
gave a most illuminating and valuable talk to the student body on "The Methods 
of Reproduction." The league hopes to have business men and former stu- 
dents lecture on the professional requirements needed in the various fields of the 
art world, and the members aim to assist not only each other, but also new stu- 
dents during their student career, and after graduation. 



April — June, 19 14 





Furniture and 


and Silver- 
smith's Work 

Metal work 




Figures (3). Carved and Lacquered Wood, Japanese. 
Collection of 70 Carvings in Ivory. Bone, Horn, etc. 

Carvings (13), Ivory, Jade, etc 

51 Pieces of Pottery and Porcelain 

6 1 Pieces of Delft Potterv 


Collection of 241 Pieces of Pottery and Porcelain, . . . 

Pottery Bowl, Korean, Eighth-Eleventh Century. . . 

4 Black Basalte Medallions, by Wedgwood. England, 
c. 1785 

17 Babylonian Tablets, 2400 to 2000 B. C. and 604 
to 539 B. C 

Carved Wooden Mantelpiece, American, Early Nine- ' 
teenth Century I 

Mahogany Four-Post Bedstead, American, Late \ 
Eighteenth Century 

Pair of Gilded Wooden Girandoles, Empire Style. : 
American ! 

Commode, Painted, French, Early Eighteenth Cen- 

Wardrobe, Painted, European, Eighteenth Century.. 

8 Pieces of Glass I 

Silver Necklace, Bracelet, and 2 Pairs of Ear-rings, 


7 Small Silver Objects 

Bronze Charm, Tibetan 

Old Metal Spoon. Korean 

1 1 Bags, Silk and Crocheted 

Straw Bonnet. American, c. 1840. . . 
Silk Paisley Shawl, Scotch, c. 1850. 

13 Dolls 

Cardboard Marionette, Japanese. . . 

Lent by Mrs. Ludwig Baker. 

Lent by Mr. Alexander Scott. 

Bequest of Harry J. Abbott. 

Bequest of Harry J. Abbott. 

Lent by the Estate of Dr. S Weir 

Lent by Mr. Alexander Scott. 

Lent by Mr. Howard F. Stratton. 

By Purchase. 

By Purchase. 

Given by Mrs. Frederick T. Mason. 
■ Given by Mrs. Edward T. Stotesbury. 


Lent by Dr. Edwin A. Barber. 

Given by Mrs. James Mifflin. 
Bequest of Harry J, Abbott. 

^ Lent by Mr. Howard F. Stratton. 

Lent by Mrs. Hampton L. Carson. 

Lent by Dr. J. S. Frazier. 

Given by Mrs. Fred. N. Kennard and 
Mrs. Richard M. Newlin. 

Lent by Miss Mary E. Sinnott. 

Lent by Mr. Howard F. Stratton. 


The Trustees of the Pennsylvania Museum 
and School of Industrial Art desire the 
active co-operation of all public-spirited 
citizens who are known to be in sympathy 
with its educational work. All such persons 
are invited to become members. 


Patron Members in Perpetuity — Those who 
contribute the sum of $5000 or more whether 
in money or objects for the Museum. 

Fellowship Members in Perpetuity — Those 
who contribute $1000 at one time. 

Life Members — Those who contribute the 
sum of $100 or more at one time. 

Annual Members — Those who contribute 
not less than $10 yearly. 

The contributions received from Patrons 
($5000), and from Life Members ($100), are 
added to the permanent Endowment Fund. 
Contributions from Annual Members ($10) 
are used to the best advantage in the de- 
velopment of the Museum and the School. 


All members are entitled to the following 

The right to vote and transact business 
at the Annual Meeting. 

Invitations to all general receptions and 
exhibitions held at the Museum and the 

Free access to the Museum and School 
Libraries and admission to all lectures. 

Also a copy of each of the following pub- 

The Annual Report of the Corporation. 

The Annual Circulars of the School of 
Applied Art and the Philadelphia Textile 

The Art Handbooks and Art Primers, 
issued from time to time by the Museum 
(a piinted list of publications will be mailed 
to any member on application). 

The Illustrated Quarterly Bulletin of the 

A list of members is published each year 
in the Annual Report. 

Applications for membership, and remit- 
tances should be sent to The Secretary, 
P. M. & S. I. A., Memorial Hall, Fairmount 
Park, Philadelphia, Pa. 


The Museum is open, free to the public 
every day in the year. 
Opening Hours: 
Mondavs at 12 M. 
Other Week Days at 9.30 A. M. 
Sundays at 1 P. M. 
Closing Hours: 

During the summer months, 5 P. M, 

(Sundays, 6 P. M.) 
During the winter months, a half hour 
before sunset. 


(On sale at the South Entrance) 

Handbook of the Museum $0.25 

A Brief History of the Bayeux Tapestry . 10 
Cork Models of Windsor Castle, Tower 
of London, Westminster Abbey, 

Church of St. Peter, Rome 10 

The Great Seals of England 25 

Handbook of the Collection of Tulip 
Ware of the Pennsylvania-German 

Paper cover 1 . 00 

Large paper edition. Cloth 5 . 00 

Handbook of the Maiolica of Mexico: 

Paper cover 1 . 00 

Flexible Art Canvas 2 . 00 

Art Primer No. 3, Lead Glazed Pottery .50 
Art Primer No. 5, Tin Enameled Pot- 
tery 50 

Art Primer No. 6, Salt Glazed Stone- 
ware 50 

Art Primer No. 9, Hard Paste Porce- 
lain 50 

Art Primer No. 11, Artificial Soft Paste 

Porcelain 50 

Bulletin of the Pennsylvania Museum 
(quarterly), per annum 1 . 00 

Friends of the Institution who desire 
to devise to it money should use the fol- 
lowing : 

Form of Bequest 

I give and bequeath unto the Pennsyl- 
vania Museum and School of Industrial Art 

the sum of.... dollars 

for the use of the said Corporation. 


Form of Devise of Real Estate 

I give and devise unto the Pennsylvania 
Museum and School of Industrial Art, its 
successors and assigns, all that certain (here 
insert a description of the property) for the 
use of the said Corporation. 






John Story Jenks, Chairman 
Thomas Skelton Harrison 
John H. McPadden 
John D. McIlhenny 
John T. Morris 
John W. Pepper 

Edgar V. Seeler 
Mrs. W. T. Carter 
Mrs. W. D. Frishmuth 
Mrs. John Harrison 
Miss Fannie S. Magee 
Miss Elizabeth C. Roberts 

Mrs. Rudolph Blankenburg, Ex-Officio 

Edwin AtLee Barber, Director of the Museum 

Mrs. Cornelius Stevenson, Assistant Curator and Lecturer 


Textiles, Lace and Embroidery Mrs. John Harrison 

Oriental Pottery Mrs. Jones Wister 

European Porcelain Rev. Alfred Duane Pell 

Arms and Armor. .'. Cornelius Stevenson 

Furniture and Woodwork Gustav Ketterer 

Musical Instruments Mrs. W. D. Frishmuth 

Numismatics F. D. Langenheim 

Sculpture, Marbles and Casts Alexander Stirling Calder 


Theodore C. Search, Chairman 
Charles Bond 
Charles H. Harding 
Thomas Skelton Harrison 
John Story Jenks 
John D. McIlhenny 
Eugar V. Seeler 
Willi.\m Wood 

Mrs. Rudolph Blankenburg, Ex-Officio 

Mrs. Rodman B. Ellison 
Mrs. p. K. Hipple 
Miss Nina Lea 
Mrs. Joseph F. Sinnott 
Mrs. C. Shillard Smith 
Mrs. John Wister 
Mrs. Jones Wister 


First Vice-President 

Miss Nina Lea 


Mrs. Rudolph Blankenburg 

Second Vice-President 

Mrs. C. Leland Harrison 

Mrs. C. Shillard Smith 

Mrs. Edwin Swift Balch Mrs. 

Miss Louise W. Bodine Mrs. 

Mrs. Jasper Yeates Brinton Mrs. 

Mrs. John H. Brinton Mrs. 

Mrs. William T. Carter Miss 

Miss Margaret Clyde Mrs. 

Miss Margaret L. Corlies Mrs. 

Miss Ada M. Crozer Mrs. 

Mrs. David E. Dallam Mrs. 

Mrs. Rodman B. Ellison Mrs. 

Countess Santa Eulalia Miss 

Miss Cornelia L. Ewing Mrs. 

Mrs. Joseph F. Sinnott 

W. D. Frishmuth Mrs. 

W. W. Gibbs Mrs. 

Henry S. Grove Mrs 

John Harrison Miss 

M. S. Hinchman Mrs. 

F. K. Hipple Miss 

J. L. Ketterlinus Mrs. 

George G. M. Large Mrs. 

Robert R. Logan Mrs. 

Howard Longstreth Mrs. 

Fannie S. Magee Mrs. 

Arthur V. Meigs Mrs. 

James Mifflin 
Francis F. Milne 
Charles Platt, 3d 
Elizabeth C. Roberts 
Thomas Roberts 
Mary E. Sinnott 
Cornelius Stevenson 
Edward T. Stotesbury 
William H. Walbaum 
A. B. Weimer 
John Wister 
Jones Wister 

honorary member 

Mrs. M. Hampton Todd